1.
National Register of Historic Places
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The National Register of Historic Places is the United States federal governments official list of districts, sites, buildings, structures, and objects deemed worthy of preservation. The passage of the National Historic Preservation Act in 1966 established the National Register, of the more than one million properties on the National Register,80,000 are listed individually. The remainder are contributing resources within historic districts, each year approximately 30,000 properties are added to the National Register as part of districts or by individual listings. For most of its history the National Register has been administered by the National Park Service and its goals are to help property owners and interest groups, such as the National Trust for Historic Preservation, coordinate, identify, and protect historic sites in the United States. While National Register listings are mostly symbolic, their recognition of significance provides some financial incentive to owners of listed properties, protection of the property is not guaranteed. During the nomination process, the property is evaluated in terms of the four criteria for inclusion on the National Register of Historic Places, the application of those criteria has been the subject of criticism by academics of history and preservation, as well as the public and politicians. Occasionally, historic sites outside the proper, but associated with the United States are also listed. Properties can be nominated in a variety of forms, including individual properties, historic districts, the Register categorizes general listings into one of five types of properties, district, site, structure, building, or object. National Register Historic Districts are defined geographical areas consisting of contributing and non-contributing properties, some properties are added automatically to the National Register when they become administered by the National Park Service. These include National Historic Landmarks, National Historic Sites, National Historical Parks, National Military Parks/Battlefields, National Memorials, on October 15,1966, the Historic Preservation Act created the National Register of Historic Places and the corresponding State Historic Preservation Offices. Initially, the National Register consisted of the National Historic Landmarks designated before the Registers creation, approval of the act, which was amended in 1980 and 1992, represented the first time the United States had a broad-based historic preservation policy. To administer the newly created National Register of Historic Places, the National Park Service of the U. S. Department of the Interior, hartzog, Jr. established an administrative division named the Office of Archeology and Historic Preservation. Hartzog charged OAHP with creating the National Register program mandated by the 1966 law, ernest Connally was the Offices first director. Within OAHP new divisions were created to deal with the National Register, the first official Keeper of the Register was William J. Murtagh, an architectural historian. During the Registers earliest years in the late 1960s and early 1970s, organization was lax and SHPOs were small, understaffed, and underfunded. A few years later in 1979, the NPS history programs affiliated with both the U. S. National Parks system and the National Register were categorized formally into two Assistant Directorates. Established were the Assistant Directorate for Archeology and Historic Preservation and the Assistant Directorate for Park Historic Preservation, from 1978 until 1981, the main agency for the National Register was the Heritage Conservation and Recreation Service of the United States Department of the Interior. In February 1983, the two assistant directorates were merged to promote efficiency and recognize the interdependency of their programs, jerry L. Rogers was selected to direct this newly merged associate directorate
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National Historic Landmark
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A National Historic Landmark is a building, district, object, site, or structure that is officially recognized by the United States government for its outstanding historical significance. Of over 85,000 places listed on the countrys National Register of Historic Places, a National Historic Landmark District may include contributing properties that are buildings, structures, sites or objects, and it may include non-contributing properties. Contributing properties may or may not also be separately listed, prior to 1935, efforts to preserve cultural heritage of national importance were made by piecemeal efforts of the United States Congress. The first National Historic Site designation was made for the Salem Maritime National Historic Site on March 17,1938. In 1960, the National Park Service took on the administration of the data gathered under this legislation. Because listings often triggered local preservation laws, legislation in 1980 amended the procedures to require owner agreement to the designations. On October 9,1960,92 properties were announced as designated NHLs by Secretary of the Interior Fred A. Seaton, more than 2,500 NHLs have been designated. Most, but not all, are in the United States, there are NHLs in all 50 states and the District of Columbia. Three states account for nearly 25 percent of the nations NHLs, three cities within these states all separately have more NHLs than 40 of the 50 states. In fact, New York City alone has more NHLs than all but five states, Virginia, California, Pennsylvania, Massachusetts, there are 74 NHLs in the District of Columbia. Some NHLs are in U. S. commonwealths and territories, associated states, and foreign states. There are 15 in Puerto Rico, the Virgin Islands, and other U. S. commonwealths and territories,5 in U. S. -associated states such as Micronesia, over 100 ships or shipwrecks have been designated as NHLs. About half of the National Historic Landmarks are privately owned, the National Historic Landmarks Program relies on suggestions for new designations from the National Park Service, which also assists in maintaining the landmarks. A friends group of owners and managers, the National Historic Landmark Stewards Association, works to preserve, protect, if not already listed on the National Register of Historic Places, an NHL is automatically added to the Register upon designation. About three percent of Register listings are NHLs, american Water Landmark List of U. S
3.
Old Lyme, Connecticut
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Old Lyme is a town in New London County, Connecticut, United States. The Main Street of the town, Lyme Street, is a historic district, the town has long been a popular summer resort and artists colony. The town is named after Lyme Regis, England, the US headquarters of Sennheiser is located in Old Lyme, as is Callaway Cars, the Florence Griswold Museum, the Lyme Academy College of Fine Arts, and the Lyme Art Association. Old Lyme and its neighboring town Lyme are the namesake for Lyme disease, the town of Old Lyme contains several villages, including Black Hall, Laysville, Lyme, Soundview, and South Lyme. The total population of the town was 7,603 at the 2010 census, Old Lyme is a community of about 7,600 permanent residents, in addition to several thousand seasonal vacationers who occupy a seaside community of summer residences. It is located on the east bank of the Connecticut River at its confluence with the Long Island Sound, numerous examples of Colonial and Federal architecture can be found throughout the town. The town of Lyme was set off from Saybrook, which is on the west bank of the river mouth, South Lyme was later incorporated from Lyme in 1855, then renamed Old Lyme in 1857 because it contains the oldest-settled portion of the Lymes. Old Lyme occupies about 27 square miles of shoreline, tidal marsh, inland wetlands and its neighbor to the north is the town of Lyme, and to the east is East Lyme. Other placenames from the root are Hadlyme and South Lyme. The placename Lyme derives from Lyme Regis, a port on the coast of Dorset, England. The picturesque Old Lyme Cemetery contains the graves of the original settlers, the Duck River flows through the cemetery and into the Connecticut River at Watch Rock Park. The Lyme in Lyme disease was named after the town and it was discovered in 1975 after a mysterious outbreak of what appeared to be juvenile rheumatoid arthritis in children who lived in Lyme and Old Lyme. See main page Old Lyme Art Colony The Florence Griswold House in Old Lyme housed an art colony for years in the early 20th century to many prominent American Impressionist painters. The Lyme Art Colony included Childe Hassam, Edward Charles Volkert, Willard Metcalf, Wilson Irvine and these artists made Old Lyme a thriving art community, which still continues today. The Griswold House was transformed into an art museum, the Florence Griswold Museum, or affectionately called Flo Gris, the building of the Old Lyme Congregational Church is known for the many paintings that have been made of it, most notably by Childe Hassam. Bennett Rockshelter Florence Griswold House and Museum —96 Lyme St, Lieutenant River III Site Lieutenant River IV Site Lieutenant River No. served as a U. S. Representative, U. S. Senator, and the 85th Governor of Connecticut. He unsuccessfully sought the Republican nomination for President in 1980. According to the United States Census Bureau, the town has an area of 28.8 square miles, of which 23.1 square miles is land and 5.7 square miles
4.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
5.
Connecticut
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Connecticut is the southernmost state in the New England region of the northeastern United States. Connecticut is also often grouped along with New York and New Jersey as the Tri-State Area and it is bordered by Rhode Island to the east, Massachusetts to the north, New York to the west, and Long Island Sound to the south. Its capital city is Hartford, and its most populous city is Bridgeport, the state is named for the Connecticut River, a major U. S. river that approximately bisects the state. The word Connecticut is derived from various anglicized spellings of an Algonquian word for long tidal river, Connecticut is the third smallest state by area, the 29th most populous, and the fourth most densely populated of the 50 United States. It is known as the Constitution State, the Nutmeg State, the Provisions State, and it was influential in the development of the federal government of the United States. Connecticuts center of population is in Cheshire, New Haven County, Connecticuts first European settlers were Dutch. They established a small, short-lived settlement in present-day Hartford at the confluence of the Park, initially, half of Connecticut was a part of the Dutch colony New Netherland, which included much of the land between the Connecticut and Delaware rivers. The first major settlements were established in the 1630s by England, the Connecticut and New Haven Colonies established documents of Fundamental Orders, considered the first constitutions in North America. In 1662, the three colonies were merged under a charter, making Connecticut a crown colony. This colony was one of the Thirteen Colonies that revolted against British rule in the American Revolution, the Connecticut River, Thames River, and ports along the Long Island Sound have given Connecticut a strong maritime tradition which continues today. The state also has a history of hosting the financial services industry, including insurance companies in Hartford. As of the 2010 Census, Connecticut features the highest per-capita income, Human Development Index, and median household income in the United States. Landmarks and Cities of Connecticut Connecticut is bordered on the south by Long Island Sound, on the west by New York, on the north by Massachusetts, and on the east by Rhode Island. The state capital and third largest city is Hartford, and other cities and towns include Bridgeport, New Haven, Stamford, Waterbury, Norwalk, Danbury, New Britain, Greenwich. Connecticut is slightly larger than the country of Montenegro, there are 169 incorporated towns in Connecticut. The highest peak in Connecticut is Bear Mountain in Salisbury in the northwest corner of the state, the highest point is just east of where Connecticut, Massachusetts, and New York meet, on the southern slope of Mount Frissell, whose peak lies nearby in Massachusetts. At the opposite extreme, many of the towns have areas that are less than 20 feet above sea level. Connecticut has a maritime history and a reputation based on that history—yet the state has no direct oceanfront
6.
Old Lyme art colony
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The group came to be dominated, socially and artistically, by Childe Hassam after his appearance in 1903. The colony was important to the development of American Impressionism, perhaps 200 painters passed through the colony during its height in the next 30 years. Many significant American Impressionist paintings of the era depict buildings in and around Old Lyme, notably the Old Lyme Congregational Church, painted by Hassam, the 1906 painting May Night by Willard Metcalf shows the boardinghouse by night, with a figure said to be Griswold herself. This was the first contemporary painting purchased by the Corcoran Gallery of Art, Old Lyme remains a thriving art community. The Griswold House has been transformed into an art museum, the Florence Griswold Museum, affectionately called Flo Gris, the museum holds artists work along with personal possessions of the artists who frequented there. Artists of the Old Lyme art colony include
7.
American Impressionism
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American Impressionism was a style of painting related to European Impressionism and practiced by American artists in the United States during the late 19th and early 20th centuries. American Impressionism is a style of painting characterized by loose brushwork, Impressionism emerged as an artistic style in France in the 1860s. Major exhibitions of French impressionist works in Boston and New York in the 1880s introduced the style to the American public. Some of the first American artists to paint in a mode, such as Theodore Robinson, did so in the late 1880s after visiting France. Others, such as Childe Hassam, took notice of the numbers of French impressionist works at American exhibitions. From the 1890s through the 1910s, American impressionism flourished in art colonies—loosely affiliated groups of artists who lived and worked together and shared a common aesthetic vision. Art colonies tended to form in small towns that provided affordable living, abundant scenery for painting, some American art colonies remained vibrant centers of impressionist art into the 1920s. However, impressionism in America lost its status in 1913 when a historic exhibition of modern art took place at the 69th Regiment Armory building in New York City. Prominent impressionist painters, from the United States include, Impressionism Pennsylvania Impressionism Hoosier Group Richmond Group Ten American Painters Gerdts, California Art,450 Years of Painting and Other Media. The Irvine Museum and Georgia Museum of Art, New York, the National Academy of Design. Weinberg, Barbara H. Childe Hassam, American Impressionist, New York, The Metropolitan Museum of Art. Plein Air Painters of California, The North, plein Air Painters of California, The Southland. Philadelphia, James A. Michener Art Museum and University of Pennsylvania Press
8.
Childe Hassam
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Frederick Childe Hassam was an American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and museums. He produced over 3,000 paintings, oils, watercolors, etchings, and lithographs over the course of his career, Hassam was born in his family home on Olney Street in Dorchester, Boston, in 1859. His father Frederick was a moderately successful cutlery businessman with a collection of art. He descended from a line of New Englanders. His mother, Rosa, a native of Maine, shared an ancestor with American novelist Nathaniel Hawthorne and his father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took Childe Hassam to be of Middle Eastern descent - speculation which he enjoyed stoking, Hassam demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending The Mather School, as a child, Hassam excelled at boxing and swimming at Dorchester High School. A disastrous fire in November 1872 wiped out much of Bostons commercial district, Hassam left high school after two years despite his uncles offer to pay for a Harvard education. Hassam preferred to support his family by working. His father arranged a job in the department of publisher Little. During that time, Hassam studied the art of engraving and found employment with George Johnson. He quickly proved an adept draftsman and he produced designs for commercial engravings such as letterheads, around 1879, Hassam began creating his earliest oil paintings, but his preferred medium was watercolor, mostly outdoor studies. In 1882, Hassam became an illustrator, and established his first studio. He specialized in illustrating childrens stories for such as Harpers Weekly, Scribners Monthly. He continued to develop his technique while attending drawing classes at the Lowell Institute and at the Boston Art Club, by 1883, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and he also began to add a crescent symbol in front of his signature, the meaning of which remains unknown. Having had relatively little formal art training, Hassam was advised by his friend Edmund H. Garrett to take a study trip with Garrett to Europe during the summer of 1883
9.
Frederic Edwin Church
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Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. Churchs paintings put an emphasis on light and a respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes, Church was the son of Eliza and Joseph Church. The familys wealth came from Churchs father, a silversmith and watchmaker in Hartford, Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires. Joseph later became an official and a director of The Aetna Life Insurance Company, the familys wealth allowed Frederic Church to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, in May 1849, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartfords Wadsworth Athenaeum, Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains, both Cole and Church were devout Protestants and the latters beliefs played a role in his paintings especially his early canvases. Cole, along with his friend Asher Durand, started school in New York. The paintings were characterized by their focus on traditional American pastoral settings, especially the Catskill Mountains and this style attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the feelings of discovery and appreciation for natural beauty. His American frontier landscapes show the expansionist and optimistic outlook of the United States in the mid-nineteenth century, Church did differ from Cole in the topics of his paintings, he preferred natural and often majestic scenes over Coles propensity towards allegory. Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature and this tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Churchs works, luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes, ” which makes the scene more realistic. Most importantly is the emphasis on light in these scenes, the several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting. Church began his career by painting classic Hudson River School scenes of New York and New England, Church’s method consisted of creating paintings in his studio based on sketches created of views in the summer months. In these earlier years of his career, Church’s style was reminiscent of that of his teacher, Thomas Cole, Church’s work was immediately divergent from Cole’s focus on ethereal, almost mythological, scenes, but his early work did resemble Cole’s tone
10.
John Frederick Kensett
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John Frederick Kensett was an American artist and engraver. The work of Kensetts maturity features tranquil scenery depicted with a spare geometry and he was a founder of the Metropolitan Museum of Art. He was born on March 22,1816, Kensett attended school at Cheshire Academy, and studied engraving with his immigrant father, Thomas Kensett, and later with his uncle, Alfred Daggett. He worked as engraver in the New Haven area until about 1838, in 1840, along with Asher Durand and John William Casilear, Kensett traveled to Europe in order to study painting. There he met and traveled with Benjamin Champney, the two sketched and painted throughout Europe, refining their talents. During this period, Kensett developed an appreciation and affinity for 17th century Dutch landscape painting, Kensett and Champney returned to the United States in 1847. After establishing his studio and settling in New York, Kensett traveled extensively throughout the Northeast, Kensett is best known for his landscape of upstate New York and New England and seascapes of coastal New Jersey, Long Island and New England. He is most closely associated with the generation of the Hudson River School. Such effects stemmed from Transcendentalist philosophies of nature and contemplation bringing one closer to a spiritual truth. In 1848 he was elected into the National Academy of Design as an Associate member, in 1851 Kensett painted a monumental canvas of Mount Washington that has become an icon of White Mountain art. Mount Washington from the Valley of Conway was purchased by the American Art Union, made into an engraving by James Smillie, other artists painted copies of this scene from the print. Currier and Ives published a print in about 1860. This single painting by Kensett helped to popularize the White Mountain region of New Hampshire, Kensetts style evolved gradually, from the traditional Hudson River School manner in the 1850s into the more refined Luminist style in his later years. By the early 1870s Kensett was spending time at his home on Contentment Island, on Long Island Sound near Darien. It was during this time that Kensett painted some of his finest works, many of these were spare and luminist seascapes, the prime example being Eatons Neck, Long Island now in the collection of the Metropolitan Museum of Art in New York. The artist was widely acclaimed and financially successful during his lifetime, in turn, he was generous in support of the arts and artists. He was a member of the National Academy of Design, the founder and president of the Artists Fund Society. Kensett contracted pneumonia and died of heart failure at his New York studio in December 1872, Kensett is interred at Green-Wood Cemetery in Brooklyn, New York
11.
David Johnson (American artist)
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David Johnson was a member of the second generation of Hudson River School painters. Johnson was born in New York City, New York and he studied for two years at the antique school of the National Academy of Design and also studied briefly with the Hudson River artist Jasper Francis Cropsey. Along with John Frederick Kensett and John William Casilear, he was best known for the development of Luminism, on the back of a painting made at Haines Falls, Kauterskill Clove, in 1849, Johnson wrote My first study from nature. Made in company with J. F. Kensett, and J. W. Casilear, by 1850, Johnson was exhibiting regularly at the National Academy of Design in New York, where he became an associate in 1859, in 1861 he was elected a full Academician. Johnsons signature works are small in format, tightly painted, delicately handled. Johnson painted numerous Lake George scenes between the late 1860s and early 1870s, including View of Dresden, Lake George and he exhibited extensively in major American art centers, including Chicago, Boston and Philadelphia, and at the Paris Salon of 1877. Bayside, New Rochelle, New York is an example of Johnsons later work, Johnson died in Walden, New York, in 1908. List of Hudson River School artists Howat, John K. et al, American Paradise, The World of the Hudson River School, Metropolitan Museum of Art, New York,1987
12.
John Ferguson Weir
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John Ferguson Weir was an American painter, sculptor, writer, and educator. He was a son of painter Robert Walter Weir, long-time professor of drawing at the Military Academy at West Point and his younger brother, J. Alden Weir, also became a well-known artist who painted in the style of American Impressionism. He was born August 28,1841, at West Point, New York, as a young man, he worked on still life paintings and became proficient at landscapes. It is also known as View of the Hudson Highlands, West Point and his next major work was An Artists Studio, depicting his father painting in his studio. It was finished in 1864 and then exhibited at the Athenaeum Club, the work became his first major sale, and led to his election as an associate of the National Academy. Weir became fascinated with the West Point Iron and Cannon Factory, across the Hudson from West Point and his third major work was The Gun Foundry,1866, an unusual interior factory scene that depicts the casting of a Parrott Gun. This work was received at the 1866 spring exhibition of the National Academy of Design. His fourth major painting was Forging the Shaft,1868 and it was also painted at the West Point Foundry, but after the end of the Civil War, and showed the creation of a great shaft for the propeller of an ocean liner. Exhibited at the Academy in 1868, it was very well received. It was destroyed by fire in 1869, and Weir painted a replica between 1874 and 1877, after his return he was named first director of the School of Fine Arts at Yale University. He served in that position from 1869 to 1913, while establishing the foundations of the Yale School of Fine Arts, John enlisted the help of his brother, Julian Alden Weir, who at the time was studying at the École des Beaux-Arts in Paris. John wrote Julian asking for information about how the school was run and how classes were taught. He also asked Julian to send him examples of life drawings, copies of Old Master paintings and studies of heads, done by Julian or his fellow students, that he could use in his classes at Yale. When Julian returned to America after living in Paris for four years, he carried on the legacy and took a teaching position at the Women’s Art School of the Cooper Union. He, like his brother, participated in the education of artists at a time when they had few opportunities for formal study in this country. In 1866 John married Mary Hannah French, daughter of West Point professor The Rev. John W. French and their daughter, Edith Dean Weir, was a noted painter of miniatures, studying under Lucia Fairchild Fuller. Weir also served in the Union Army briefly at the beginning of the Civil War and he died in Providence, Rhode Island on April 8,1926. He designed the fountain on New Haven Green
13.
Milton Avery
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Milton Clark Avery was an American modern painter. Born in Altmar, New York, he moved to Connecticut in 1898, the son of a tanner, Avery began working at a local factory at the age of 16 and supported himself for decades with a succession of blue-collar jobs. The death of his brother-in-law in 1915 left Avery, as the remaining adult male in his household. His interest in art led him to attend classes at the Connecticut League of Art Students in Hartford, in 1917, he began working night jobs in order to paint in the daytime. In 1924, he met Sally Michel, an art student. Her income as an illustrator enabled him to himself more fully to painting. The two had a daughter, March Avery, in 1932, for several years in the late 1920s through the late 1930s, Avery practiced painting and drawing at the Art Students League of New York. Roy Neuberger saw his work and thought he deserved recognition, determined to get the world to know and respect Averys work, Neuberger bought over 100 of his paintings, starting with Gaspé Landscape, and lent or donated them to museums all over the world. With the work of Milton Avery rotating through high-profile museums, he came to be a highly respected, in the 1930s, he was befriended by Adolph Gottlieb and Mark Rothko among many other artists living in New York City in the 1930s–40s. It was Rothko who wrote perhaps the most vivid summation of Averys art, the Phillips Collection in Washington, D. C. was the first museum to purchase one of Averys paintings in 1929, that museum also gave him his first solo museum exhibition in 1944. He was elected a Fellow of the American Academy of Arts, Avery was a man of few words. Why talk when you can paint and he often quipped to his wife. Their daughter, March Avery, is also a painter and he died at Montefiore Hospital in the Bronx, New York after a long illness, and is buried in the Artists Cemetery in Woodstock, Ulster County, New York. After his death in 1965, his widow, Sally Avery, donated his papers to the Archives of American Art. In 2007, the Archives optically scanned these papers and made available to researchers as the Milton Avery Papers Online. Avery was often thought of as an American Matisse, especially because of his colorful and his poetic, bold and creative use of drawing and color set him apart from more conventional painting of his era. Early in his career, his work was considered too radical for being too abstract, french Fauvism and German Expressionism influenced the style of Averys early work, and his paintings from the 1930s are similar to those of Ernst Ludwig Kirchner. By the 1940s, Avery’s painting style had more similar to Henri Matisse
14.
Emil Carlsen
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Soren Emil Carlsen was an American Impressionist painter who emigrated to the United States from Denmark. He became known for his still lifes and while by some he has described as The American Chardin he was in fact a far more sensitive aesthetically oriented artist. It is not a stretch to view him as one of the truly great American artists of the twentieth century, later in his career Carlsen expanded his range of subjects and becoming known for landscapes and marines as well. During his long career he won many of the most important honors in American art and was elected to membership in the National Academy of Design, for more than forty years he was also a respected teacher in Chicago, San Francisco and New York. Emil Carlsen was born and raised in the Danish capital of Copenhagen, interested in art, he first worked as an architects assistant and studied with the Danish marine artist Lauritz Holst. However, Holst returned to Denmark, leaving his studio to Carlsen, when he returned to the United States, he set up a studio in New York and began to painted tonalist still lifes that were somewhat reminiscent of those of Chardin. However, selling work was still a struggle, after moving to Boston he had a short period of good sales. He returned to New York and again struggled to sell his paintings, in 1879 he held an auction to help ease his financial situation but ended up selling only a few paintings. This compelled him to give up his studio and take up engraving with which he found success despite his frustration at not being able to paint full-time. These often depicted copper pans, game, or flowers, the acceptance of a still life in the exhibition of the Pennsylvania Academy of Fine Arts in 1883 was the first noteworthy event in his career. In 1884 he returned to Europe, painting commissions of floral still lifes for the dealer, Theron J. Blakeslee, eventually he turned his back on the demand for pretty flowers. In 1885 Carlsen had two works accepted for the Paris Salon, returning to New York he opened a studio on 57th Street. However, finding that it was difficult to sell paintings he moved to San Francisco where between 1887 and 1889 he held a position as director of the California School of Design. He became friends with Arthur Mathews, who taught at the School of Design and was the figure in the Bay Area Arts and Crafts Movement. He then moved on to teach privately at the San Francisco Art Students until 1891, during those years he influenced a number of young students, among them Guy Rose, a Southern California painter who would become a leading Giverny Impressionist. Carlsen moved back to the east from California in 1891 and began a career of teaching in the East. He taught at the National Academy of Design, at the student-founded Art Students League, gradually, through his relationship with other New York-based painters and teachers such as John Twachtman and Julian Alden Weir, he became interested in painting landscapes and marines. Carlsen sketched in Connecticut in the early 1900s, visiting his friend Julian Alden Weir in Branchville, Fairfield County and this became the famous Weir Farm where many American Impressionist painters painted landscape plein-air
15.
Bruce Crane
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For the American businessman and politician, see Bruce Crane Robert Bruce Crane was an American painter. He joined the Lyme Art Colony in the early 1900s and his most active period, though, came after 1920, when for more than a decade he did oil sketches of woods, meadows, and hills. He developed into a Tonalist painter under the influence of Jean-Charles Cazin at Grez-sur-Loing, crane’s mature works were nearly always fall and winter scenes. He usually painted in his studio in Bronxville, New York, selected work can be found at the Florence Griswold Museum in Old Lyme, Connecticut. He is a descendant of the Continental Congressman Stephen Crane, Bruce Cranes father, Solomon Crane, was an amateur artist himself and interested his son in the New York art scene from a young age. In hopes of starting a career in field, he approached the famous artist Alexander Wyant. Wyant asked to see some of Cranes work, but Bruce did not believe that his skills were enough to impress Wyant. Therefore, he declined the request and spent the year improving his skills before he showed his work to Wyant. They remained friends until Wyants death, were treated as skillfully as his with numerous variations of the leading motive of tone and color. He then left New York to study in France with Jean-Charles Cazin and he experienced success there but things were about to change. Jeanne began to publicly accuse Bruce Crane of adultery with his step-Daughter Ann but the case was dropped, Bruce would marry Ann Brainered two years later, despite a 25-year age gap. They would have a daughter, also named Ann and this period of time caused many critics to believe that he had lost his touch and his skills. Though it was his return to the Adirondacks that caused his work to mature as he began to focus on the basics of nature. I have come to like simpler subjects better In 1909 he won a medal at the Carnegie Institute exhibition for his work November Hills. Throughout the first two decades of the 20th century, Crane won at least 10 major national and international awards and this included the Inness Gold Medal, Gold metal at the St. Louis Exposition, The Saltus Medal, and the silver medal at the Panama-Pacific Exhibition. From 1929 to 1933, Bruce Crane was the President of the famed Salmagundi Club of New York City and he was also associated with the Grand Central Art Galleries, participating in its 1933 members drawing. In 1897, he was elected into the National Academy of Design as an Associate Academician, Crane grew frail after breaking both of his hips in a fall in 1935, nearly immobilizing him. He spent the remainder of his years in Bronxville before passing on October 29,1937 and he is buried in Green-Wood Cemetery, Brooklyn
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Willard Metcalf
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Willard Leroy Metcalf was an American artist born in Lowell, Massachusetts. He studied at the School of the Museum of Fine Arts, Boston, after early figure-painting and illustration, he became prominent as a landscape painter. He was one of the Ten American Painters who in 1897 seceded from the Society of American Artists, for some years he was an instructor in the Womens Art School, Cooper Union, New York, and in the Art Students League, New York. In 1893 he became a member of the American Watercolor Society, born into a working-class family, Metcalf began painting in 1874. In 1876 he opened a studio in Boston, and received a scholarship at the Boston Museum school, in 1882 he held an exhibition at the J. Eastman Chase Gallery in Boston, the sales from which financed a study trip abroad. Metcalf left for Europe in September 1883, and did not return to the United States until late 1888, during that time he traveled and painted, studying first in Paris with Gustave Boulanger and Jules-Joseph Lefebvre, subsequently going to England and Pont-Aven, Brittany. In the winter of 1884 he apparently met John Twachtman in Paris and his landscapes at this time were traditional renditions of peasant scenes, in the manner of Jean Millet. By 1886 Metcalf was painting in Giverny, evidently the first American painter to visit there, soon thereafter he traveled to Algeria and Tunisia, returning to Giverny in the summers of 1887 and 1888, in the company of other American painters. Upon his return to the United States Metcalf had an exhibition at the St. Botolph Club in Boston. After living briefly in Philadelphia, in 1890 he opened a studio in New York, working for years as a portrait painter, illustrator. In 1895 he painted at Gloucester, Massachusetts, and ceased to work as an illustrator, in the late 1890s he appears to have painted little, and his contributions to the first few exhibitions of The Ten were disappointing. At the time Metcalf led a social life that included heavy drinking. Metcalfs model for the murals was Marguerite Beaufort Hailé, a stage performer twenty years his junior, in preparation for a mural commissioned by a tobacco company, Metcalf traveled to Havana, Cuba in 1902, to make painted studies. That year he produced a series of notable landscapes, including The Boat Landing. These works were characterized by a new freshness of execution and lightness of palette, in 1904 he resided and painted steadily in Clarks Cove, Maine. His expertly handled, subtle views of the New England landscape met with critical and financial success. In 1907 May Night won the Corcoran gold medal, was honored with the top prize of $3,000. It remains one of best works and is now in the collections of the National Gallery of Art, in the same year his marriage to Marguerite dissolved when she eloped from Old Lyme with one of Metcalfs male students
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May Night (Willard Metcalf painting)
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May Night is a 1906 oil painting by American Impressionist Willard Metcalf. It is a nocturne depicting the home of Florence Griswold, now the Florence Griswold Museum in Old Lyme and it was the first contemporary painting purchased by the Corcoran Gallery of Art, and is Metcalfs most celebrated work. Metcalf arrived at the Old Lyme Art Colony at the invitation of his friend Childe Hassam, during the spring, summer and autumn of 1906 Metcalf enjoyed what was to that point his most productive year, finishing twenty-six paintings. With greater productivity as a painter came an increased exploration of different themes, seasons. One of the themes that Metcalf attempted was the nocturne, a subject which had become popular in the Old Lyme colony of artists, the subjects romantic associations and subtle color harmonies reconciled the opposing tendencies of Tonalism and Impressionism within the colony. By 1903 Frank DuMond had begun teaching the painting of moonlight subjects to his students in Old Lyme, in July 1906 Hassam wrote about Metcalf to J. Alden Weir, Metty is working hard at a moonlight. The weather has been so bad that we have been forced to it, Metcalf began painting May Night in the spring of 1906, and finished it in early September. The subject is the front lawn and facade of the Griswold House, in the foreground, shadows are cast on the lawn by trees. Touches of warmth are provided by the light emanating from within the house, may Night romanticized the condition of the property, which at the time suffered from peeling paint and uncut shrubbery. It also acknowledged the centrality of Florence Griswold to the creative community, according to Arthur Heming, whom Metcalf invited to view the painting soon after it was completed, the figure walking toward the house was intended to be Florence Griswold. As he admired the painting in Metcalfs studio, Miss Florence entered, Metcalf attempted to give her the painting in return for room and board, and she refused, saying Its the best thing youve ever done. When you show it in New York, theyll snap it up at once, the painting soon had a profound impact on Metcalfs career, and on the Old Lyme colony. It was exhibited in November at the St. Botolph Club in Boston, there it was awarded the Clark Gold Medal and $1,000, and was bought by the Corcoran for $3,000, thus becoming the gallerys first purchase of a contemporary American painting. After seeing the painting in Boston in November 1906, artist and critic Philip Leslie Hale wrote One could hardly get a sense of the beauty and mystery of night. All changed to something new and strange by the magic of dim reflected light of the moon, a critic in the Art Annual wrote It is a little weird, and like a dream, but immensely interesting. Lyme cows are so busy posing for the Art classes that they have time to be milked. One explanation of the remarkable jump Lyme has taken is that Willard Metcalf sold in three days $3,000 worth of Lyme landscapes in the St. Botolph Club last winter. This made Lyme landscapes sound like Standard Oil, and with no less enthusiasm than the hunters of 49
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Florence Griswold Museum
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The museum is noted for its collection of American Impressionist paintings. The house was designated a National Historic Landmark in 1993, the Museums Robert and Nancy Krible Gallery, featuring 9,500 square feet of exhibit space and sweeping views of the Lieutenant River opened in 2002. In 2001, the Museum acquired the collection of the Hartford Steam Boiler Inspection and Insurance Company. The collection included 157 oil paintings,31 works on paper and 2 works of sculpture, the building is now part of the campus of the Florence Griswold Museum. Leading artists of the Old Lyme Art Colony who stayed at the house were Henry Ward Ranger, Edward Charles Volkert, Childe Hassam. U. S. President Woodrow Wilson and his family dined with Miss Florence, I saw a charming house that appeared like a Roman temple among the trees. — Arthur Heming, artist of the Lyme Art Colony The entire first floor has been furnished to reflect its appearance in about 1910, visitors enter through a wide center hall, where an informal gallery displays paintings on grass cloth walls. The hall also contains Colonial and Empire furniture, two bedrooms are off the hallway — Miss Florences bedroom and a guest bedroom. A parlor on the first floor has artists brushes on the mantel, in that room the artist-boarders would present various types of entertainment for each other. The second floor is exhibition space, samuel Belcher, architect of the Old Lyme Congregational Church, designed the late Georgian-style house for William Noyes. The artists who painted on the doors and walls were probably following a tradition imported from hostelries in the French art colonies at Barbizon, Giverny. A total of 41 painted panels are in the downstairs rooms, the house was declared a National Historic Landmark in 1993. In July 2007 the building reopened after a 14-month restoration project, list of National Historic Landmarks in Connecticut National Register of Historic Places listings in New London County, Connecticut Florence Griswold Museum Web page
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Corcoran Gallery of Art
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The Corcoran Gallery of Art was an art museum in Washington, D. C. Prior to its closing, it was one of the oldest privately supported cultural institutions in the United States capital, starting in 1890, a museum school, later known as the Corcoran College of Art + Design, co-existed with the gallery. The museums main focus was American art, when the gallery was founded in 1869 by William Wilson Corcoran, the co-founder of Riggs Bank, it was one of the first fine art galleries in the country. Corcoran established the gallery, supported with an endowment, for the establishment and encouragement of the Fine Arts. While an independent institution, the Corcoran was the oldest and largest non-federal art museum in the District of Columbia and its mission was dedicated to art and used solely for the purpose of encouraging the American genius. The Corcoran Gallery of Art was originally located at 17th Street and Pennsylvania Avenue, construction of that building started before the Civil War. The building, near completion, was used by the government as a warehouse during the Civil War and it was finally completed in 1874 and the gallery opened to the public. By 1897, the Corcoran Gallery collection outgrew the space of its original building, a new building was constructed, designed by Ernest Flagg in a Beaux-Arts style. The 135,000 square feet building was built to house an expanded Corcoran collection in addition to the nascent school, which had been formally founded in 1890. In 1928, the art collection of former Senator William A. Clark joined the Corcoran in a new wing designed by Charles Adam Platt, for decades, the Corcoran examined the possibility of adding on a final wing which would complete the campus footprint. These plans abruptly ended in 2005 after a Frank O. Gehry -designed wing was scrapped due to lack of funding, throughout the 1950s, 1960s, and 1970s, the gallery continued to display its main collection from Corcoran, Clark, and a few select major donors. In 1989, the Corcoran Gallery of Art had agreed to host a solo exhibit of Robert Mapplethorpes works. Mapplethorpe decided to show a new series that he had explored shortly before his death, Robert Mapplethorpe, several Trustees of the Corcoran and U. S. The Coalition of Washington Artists organized a demonstration to protest the Corcoran Gallerys cancellation of the exhibit, an estimated 700 people attended the demonstration. In June 1989, pop artist Lowell Blair Nesbitt became involved with a scandal involving Mapplethorpes work and it was at this time that Nesbitt, a long-time friend of Mapplethorpe, revealed that he had a $1.5 million bequest to the museum in his will. Nesbitt publicly promised that if the museum refused to host the exhibition he would revoke his bequest, the Corcoran refused and Nesbitt bequeathed the money to the Phillips Collection instead. The 1990 NEA Appropriations Bill included language against obscene work, as a result of the scandal, more than a dozen artists canceled exhibitions while the director, Christina Orr-Cahall, resigned and moved to the Norton Museum of Art. In its final years, the museum and its art and design college Corcoran College of Art and Design together had a staff of about 140
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Henry Ward Ranger
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Henry Ward Ranger, American artist, was born in western New York State. He was a prominent landscape and marine painter, an important Tonalist, Ranger became a National Academician, and a member of the American Water Color Society. Among his paintings are, Top of the Hill, Corcoran Gallery of Art, Washington, D. C. and East River Idyll, Carnegie Institute, Pittsburgh, Henry Ward Ranger was born on January 29,1858. His mother was Martha Marie, and his father Ward Valencourt Ranger, as a young man he studied music, excelling on the piano and organ. Ranger grew up drawing and painting and received encouragement from his parents. After graduating from school, he studied at Syracuse University for two years, where he studied art formally for the first time. While he worked in his fathers business, he began painting watercolor landscapes. He moved to New York City in 1878 where he saw works of the Barbizon School for the first time and he supported his art studies by reviewing music and theater for several New York newspapers. In 1883, he married an Helen Jennings, an actress with a son. Ranger was rapidly adopted by the Dutch painters and he adopted their subjects. He sketched with the Hague School artists and learned to paint the quickly changing skies of the low counties, because of the flatness of the land, the skies were important in Hague School paintings, and the cloud-filled skies with their diffused light became characteristic of Rangers early work. The artist enjoyed living in the modest town, and his work advanced enough to be accepted by the Paris Salons by the late 1880s, Ranger set up a New York studio in 1888, so he could paint landscapes there and cultivate American collectors. In 1892, he had an exhibition of twenty-four paintings at Knoedler Galleries in New York. He painted watercolors that were considered free and vibrant by critics like Arthur Hoeber, once back in the United States, Ranger became one of the leaders of the Tonal school of painting, and it is he who was given credit for coming up with the name Tonalist. An exhibition of his paintings at the Lotos Club in the mid-1890s institutionalized the style, in 1894, he had an exhibition at the Macbeth Gallery, the first firm to specialize in the works of American artists. This exhibition included works that had been done on a sketching trip to Canada. Ranger was the first member of the Florence Griswold circle in the Old Lyme Art Colony in Old Lyme, inspired by the landscapes resemblance to the Barbizon forest of France, the art colony was established under Rangers leadership in 1900. The gathering in Old Lyme was the largest art colony of its time, at Rangers example, the artists primary purpose was to make preliminary studies while working directly from nature, with the further intent that the paintings surfaces be texturally interesting
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Edward Charles Volkert
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Edward Charles Volkert, was an American Impressionist artist best known for his colorful and richly painted impressionist landscapes. His trademark subject was that of cattle and plowmen and he has been referred to as Americas cattle painter extraordinaire. The son of a hat merchant from Alsace, Volkert was born in Cincinnati, Ohio and he studied at the Cincinnati Art Academy under Frank Duveneck, whose draftsmanship would influence Volkert. His mature style combined elements of the Barbizon school of painting, academic institutions he attended were Art Students League of New York and Cincinnati Art Academy. He also studied under George de Forest Brush, Henry Siddons Mowbray, for many years he traveled between Cincinnati and New York City, and most preferred to paint cattle in Ohio farmlands. While living in New York, Volkert was president of the Bronx Art Guild, after staying in Old Lyme, Connecticut, as a guest of Florence Griswold. He eventually moved near Old Lyme, CT, in part because of his interest in painting their ever-present oxen, oxen are always ready to stand still, but cows are more inquisitive and when a newcomer appears they forsake their quiet rumination and come over to investigate. His style is noted for its impressionist use of light, applied in small dots of paint, while maintaining an interest in the true forms and colors of his subject matter. When Griswold became the first manager of the Lyme Art Associations gallery, thereafter, Volkert bought a home there in 1922, and remained in Old Lyme for the rest of his life, where he continued to work at his subject of choice. Biography, Ohio Impressionists and Post-Impressionists Biography, Antiques and Fine Art Films of Volkert at work, Florence Griswold Museum PBS Antiques Roadshow 1927 painting
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Woodrow Wilson
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Thomas Woodrow Wilson was an American politician and academic who served as the 28th President of the United States from 1913 to 1921. Born in Staunton, Virginia, he spent his years in Augusta, Georgia and Columbia. In 1910, he was the New Jersey Democratic Partys gubernatorial candidate and was elected the 34th Governor of New Jersey, while in office, Wilson reintroduced the spoken State of the Union, which had been out of use since 1801. Leading the Congress that was now in Democratic hands, he oversaw the passage of progressive legislative policies unparalleled until the New Deal in 1933. The Federal Reserve Act, Federal Trade Commission Act, the Clayton Antitrust Act, through passage of the Adamson Act that imposed an 8-hour workday for railroads, he averted a railroad strike and an ensuing economic crisis. Upon the outbreak of World War I in 1914, Wilson maintained a policy of neutrality, Wilson faced former New York Governor Charles Evans Hughes in the presidential election of 1916. By a narrow margin, he became the first Democrat since Andrew Jackson elected to two consecutive terms, Wilsons second term was dominated by American entry into World War I. In April 1917, when Germany had resumed unrestricted submarine warfare and sent the Zimmermann Telegram, the United States conducted military operations alongside the Allies, although without a formal alliance. During the war, Wilson focused on diplomacy and financial considerations, leaving military strategy to the generals, loaning billions of dollars to Britain, France, and other Allies, the United States aided their finance of the war effort. On the home front, he raised taxes, borrowing billions of dollars through the publics purchase of Liberty Bonds. In his 1915 State of the Union Address, Wilson asked Congress for what became the Espionage Act of 1917, the crackdown was intensified by his Attorney General A. Mitchell Palmer to include expulsion of non-citizen radicals during the First Red Scare of 1919–1920. Wilson staffed his government with Southern Democrats who implemented racial segregation at the Treasury, Navy and he gave department heads greater autonomy in their management. Following his return from Europe, Wilson embarked on a tour in 1919 to campaign for the treaty. The treaty was met with concern by Senate Republicans, and Wilson rejected a compromise effort led by Henry Cabot Lodge. Due to his stroke, Wilson secluded himself in the White House, disability having diminished his power, forming a strategy for re-election, Wilson deadlocked the 1920 Democratic National Convention, but his bid for a third-term nomination was overlooked. Wilson was a devoted Presbyterian and Georgist, and he infused his views of morality into his domestic and he appointed several well known radically progressive single taxers to prominent positions in his administration. His ideology of internationalism is now referred to as Wilsonian, an activist foreign policy calling on the nation to promote global democracy and he was the third of four children of Joseph Ruggles Wilson and Jessie Janet Woodrow. Wilsons paternal grandparents immigrated to the United States from Strabane, County Tyrone, Ireland and his mother was born in Carlisle, England, the daughter of Rev. Dr. Thomas Woodrow from Paisley, Scotland, and Marion Williamson from Glasgow
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Arthur Heming
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Arthur Henry Howard Heming was a Canadian painter and novelist known as the chronicler of the North for his paintings, sketches, essays and books about Canadas North. Born in Paris, Ontario and raised in Hamilton, he studied in New York City and the Old Lyme Art Colony under Frank DuMond, Heming was colour blind and as a result worked mostly in black and white for most of his life. He was a member of the Royal Canadian Academy of Arts The Hemings emigrated from Bognor England in the top half of the 19th century, edward Francis Heming left Bognor and settled just outside Guelph, Ontario. On the Eramosa Line in 1832 and he called the farm Bognor Lodge and it is still there today in Heming ownership. The northern half of the farm was expropriated and flooded to make Guelph Lake, the Heming family traces its ancestors back to King Harold Heming of Denmark, the last Viking king of Denmark, and the one who brought Christianity to Denmark. They eventually travelled through France and settled there having the town named Heming after them, when France became Roman Catholic, they were/are Protestants, they emigrated again just across the English Channel to the seaside spa of Bognor. Edward Heming had 5 sons in Canada West, one of them was Charles Heming and he became the postmaster of the small village of Sydenham. Because there was another growing town near Ottawa with the same name and he changed it to Bognor and it is there today. A tribute to the pioneering Canadian Heming family, illustrated by Heming Arthur Heming Collection
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1910 in art
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April 27 – Futurist poet Filippo Tommaso Marinetti issues the manifesto Contro Venezia passatista in the Piazza San Marco. Bronze sculptor Robert Kionsek joins the Berlin workshop of Ferdinand Preiss to form the PK firm, czech art historian Antonin Matějček uses the term Expressionism, in opposition to impressionism. Russian composer Alexander Scriabin writes Prometheus, The Poem of Fire, Op.60, a work for piano, orchestra, optional choir. March 18 – May 1 – Salon des Indépendants, Jean Metzinger, Henri Le Fauconnier, Metzinger exhibits Portrait de Guillaume Apollinaire, considered by Apollinaire to be the first cubist portrait. July 15 – October 9 – First International Art Exhibition in Düsseldorf, October 1 – November 8 – Salon dAutomne, Jean Metzinger, Henri Le Fauconnier and Fernand Léger exhibit in Room VIII. This is the Cubist concept of perspective that would tend towards the representation of the total image. November 8 – January 15,1911 – Manet and the Post-Impressionists at the Grafton Galleries in London, organized by Roger Fry, January 29 – Colin Middleton, Irish artist. February 20 – Julian Trevelyan, English printmaker March 10 – David Rose, June 6 – Hélène de Beauvoir, French painter. Beck, American cartoonist and comic book artist, Fernand Fonssagrives, French photographer June 17 – Raymond Poïvet, French cartoonist 14 July – William Hanna, American cartoonist. 22 July – Antonio Rodríguez Luna, Spanish painter,30 July – Edgar de Evia, Mexican-born American photographer. 1 August James Henry Govier, English painter, gerda Taro, born Gerta Pohorylle, German-born war photographer. 19 August – Quentin Bell, English art historian and author,25 August – Dorothea Tanning, American painter. 28 August – Morris Graves, American painter and printmaker,3 September – Kitty Carlisle Hart, American singer, actress and New York State Council on the Arts member. 7 October – Henry Plumer McIlhenny, American, art collector, philanthropist,29 October – Aurélie Nemours, French painter. 28 November – Garrett Eckbo, American landscape architect,2 December – Russell Lynes, American art historian, photographer and author. February 14 – John Macallan Swan, English painter and sculptor March 11 – Willis E
25.
Old Lyme Congregational Church
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The Old Lyme Congregational Church is located in Old Lyme, Connecticut. The church is noted as a subject of Old Lyme Art Colony painters. It is affiliated with the United Church of Christ, the first Meeting House was built in 1665 and the first minister was Moses Noyes. New buildings were constructed in 1689 and in 1738, the present building was erected in 1816-7 by architect Samuel Belcher, Belcher also designed the John Sill and William Noyes houses on Lyme Street. The building was burnt down in a July 3,1907 fire, five other Congregational churches were built on essentially the same design in the Connecticut towns of Milford, Cheshire, Litchfield, Southington, and Guilford. The similarities suggest that some of the elements may have been prefabricated. The building was restored circa 2001 by volunteers, including architect Stephen Lloyd, impressionist Childe Hassam depicted the church in a series of three celebrated paintings from 1903 to 1906. One hangs in the Parrish Art Museum in Southampton, New York, another is displayed in the Albright-Knox Art Gallery in Buffalo, New York. Hassams paintings helped bring publicity to the Old Lyme art colony, other artists at the colony, including Charles Ebert and Everett Warner, also tried their hands at painting the church
26.
Contributing property
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Government agencies, at the state, national, and local level in the United States, have differing definitions of what constitutes a contributing property but there are common characteristics. Local laws often regulate the changes that can be made to contributing structures within designated historic districts, the first local ordinances dealing with the alteration of buildings within historic districts was in Charleston, South Carolina in 1931. Properties within a district fall into one of two types of property, contributing and non-contributing. A contributing property, such as a 19th Century mansion, helps make a historic district historic, while a non-contributing property, such as a medical clinic. The contributing properties are key to a districts historic associations, historic architectural qualities. A property can change from contributing to non-contributing and vice versa if significant alterations take place, the ordinance declared that buildings in the district could not have changes made to their architectural features visible from the street. By the mid-1930s, other U. S. cities followed Charlestons lead, an amendment to the Louisiana Constitution led to the 1937 creation of the Vieux Carre Commission, which was charged with protecting and preserving the French Quarter in the city of New Orleans. The city then passed an ordinance that set standards regulating changes within the quarter. Other sources, such as the Columbia Law Review in 1963, the Columbia Law Review gave dates of 1925 for the New Orleans laws and 1924 for Charleston. The same publication claimed that two cities were the only cities with historic district zoning until Alexandria, Virginia adopted an ordinance in 1946. The National Park Service appears to refute this, in 1939, the city of San Antonio, Texas, enacted an ordinance that protected the area of La Villita, which was the citys original Mexican village marketplace. In 1941 the authority of local controls on buildings within historic districts was being challenged in court. In City of New Orleans vs Pergament Louisiana state appellate courts ruled that the design, beginning in the mid-1950s, controls that once applied to only historic districts were extended to individual landmark structures. The United States Congress adopted legislation that declared the Georgetown neighborhood in Washington, by 1965,51 American communities had adopted preservation ordinances. By 1998, more than 2,300 U. S. towns, contributing properties are defined through historic district or historic preservation zoning laws, usually at the local level. Zoning ordinances pertaining to historic districts are designed to maintain a historic character by controlling demolition and alteration to existing properties. It can be any property, structure or object that adds to the integrity or architectural qualities that make the historic district, either local or federal. Definitions vary but, in general, they maintain the same characteristics, another key aspect of a contributing property is historic integrity
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Historic districts in the United States
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Buildings, structures, objects and sites within a historic district are normally divided into two categories, contributing and non-contributing. Districts greatly vary in size, some have hundreds of structures, the U. S. federal government designates historic districts through the United States Department of Interior under the auspices of the National Park Service. Federally designated historic districts are listed on the National Register of Historic Places, state-level historic districts may follow similar criteria or may require adherence to certain historic rehabilitation standards. Local historic district designation offers, by far, the most legal protection for historic properties because most land use decisions are made at the local level, local districts are generally administered by the county or municipal government. The first U. S. historic district was established in Charleston, South Carolina in 1931, Charleston city government designated an Old and Historic District by local ordinance and created a board of architectural review to oversee it. New Orleans followed in 1937, establishing the Vieux Carré Commission, other localities picked up on the concept, with the city of Philadelphia enacting its historic preservation ordinance in 1955. The Supreme Court case validated the protection of resources as an entirely permissible governmental goal. In 1966 the federal government created the National Register of Historic Places, conference of Mayors had stated Americans suffered from rootlessness. By the 1980s there were thousands of federally designated historic districts, Historic districts are generally two types of properties, contributing and non-contributing. In general, contributing properties are integral parts of the historic context, in addition to the two types of classification within historic districts, properties listed on the National Register of Historic Places are classified into five broad categories. They are, building, structure, site, district and object, all but the eponymous district category are also applied to historic districts listed on the National Register. A listing on the National Register of Historic Places is governmental acknowledgment of a historic district, however, the Register is an honorary status with some federal financial incentives. The National Register of Historic Places defines a historic district per U. S. federal law, a district may also comprise individual elements separated geographically but linked by association or history. Districts established under U. S. federal guidelines generally begin the process of designation through a nomination to the National Register of Historic Places, the National Register is the official recognition by the U. S. government of cultural resources worthy of preservation. While designation through the National Register does offer a district or property some protections, if the federal government is not involved, then the listing on the National Register provides the site, property or district no protections. If, however, company A was under federal contract the Smith House would be protected, a federal designation is little more than recognition by the government that the resource is worthy of preservation. Usually, the National Register does not list religious structures, moved structures, reconstructed structures, however, if a property falls into one of those categories and are integral parts of districts that do meet the criteria then an exception allowing their listing will be made. Historic district listings, like all National Register nominations, can be rejected on the basis of owner disapproval, in the case of historic districts, a majority of owners must object in order to nullify a nomination to the National Register of Historic Places
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National Park Service
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It was created on August 25,1916, by Congress through the National Park Service Organic Act and is an agency of the United States Department of the Interior. As of 2014, the NPS employs 21,651 employees who oversee 417 units, the National Park Service celebrated its centennial in 2016. National parks and national monuments in the United States were originally individually managed under the auspices of the Department of the Interior, the movement for an independent agency to oversee these federal lands was spearheaded by business magnate and conservationist Stephen Mather, as well as J. Horace McFarland. With the help of journalist Robert Sterling Yard, Mather ran a publicity campaign for the Department of the Interior and they wrote numerous articles that praised the scenic and historic qualities of the parks and their possibilities for educational, inspirational, and recreational benefits. This campaign resulted in the creation of a National Park Service, Mather became the first director of the newly formed NPS. On March 3,1933, President Herbert Hoover signed the Reorganization Act of 1933, the act would allow the President to reorganize the executive branch of the United States government. It wasnt until later that summer when the new President, Franklin D. Roosevelt, President Roosevelt agreed and issued two Executive orders to make it happen. In 1951, Conrad Wirth became director of the National Park Service, the demand for parks after the end of the World War II had left the parks overburdened with demands that could not be met. In 1952, with the support of President Dwight D. Eisenhower, he began Mission 66, New parks were added to preserve unique resources and existing park facilities were upgraded and expanded. In 1966, as the Park Service turned 50 years old, emphasis began to turn from just saving great and wonderful scenery, Director George Hartzog began the process with the creation of the National Lakeshores and then National Recreation Areas. Since its inception in 1916, the National Park Service has managed each of the United States national parks, Yellowstone National Park was the first national park in the United States. In 1872, there was no government to manage it. Yosemite National Park began as a park, the land for the park was donated by the federal government to the state of California in 1864 for perpetual conservation. Yosemite was later returned to federal ownership, at first, each national park was managed independently, with varying degrees of success. In Yellowstone, the staff was replaced by the U. S. Army in 1886. Due to the irregularities in managing these national treasures, Stephen Mather petitioned the government to improve the situation. In response, Secretary of the Interior Franklin K. Lane challenged him to lobby for creating a new agency, Mather was successful with the ratification of the National Park Service Organic Act in 1916. Later, the agency was given authority over other protected areas, the National Park System includes all properties managed by the National Park Service
